Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Este artículo tiene por objetivo presentar la experiencia de una institución de educación superior, a través de los resultados de la implementación de un modelo de dirección estratégica, investigando el impacto que presentan las etapas de análisis, formulación e implementación de este modelo para el periodo 2006-2017, 11 años. Para ello, en primer lugar, se desarrolla el marco teórico y, en segundo lugar, se expone la metodología de estudio de caso con el modelo de dirección implementado, al igual que la hipótesis y variables de investigación sobre las cuales se aplica posteriormente un análisis descriptivo, exploratorio, no experimental y se construye un modelo de ecuaciones estructurales (PLS-SEM). Los resultados de la investigación arrojan valores de R2 de 79,2% y 94,9%, verificando que la etapa de análisis estratégico impacta positivamente en la etapa de formulación e implementación que posee el modelo de dirección utilizado. Finalmente, se concluye que es relevante emplear un modelo que permita guiar a las instituciones de educación superior.

El presente estudio tiene como objetivo analizar los niveles de participación que se dan entre los actores más relevantes de la comunidad educativa; Docentes, Estudiantes, Apoderados, Asistentes y Sostenedor, y su relación con la categorización de desempeño insuficiente, medio bajo y medio de las escuelas. Para ello, se aplicó una metodología cualitativa de tipo exploratorio–descriptiva, con una entrevista grupal semiestructurada a equipos directivos de 53 escuelas públicas. Los resultados evidencian que la participación es mayoritariamente de carácter pasiva y escasamente activa. Específicamente en las escuelas con categorías de Desempeño, Insuficiente y Medio Bajo, los niveles de participación son de carácter pasivo en un 83%, y en escuelas con categoría de Desempeño Medio, se evidencia una tendencia hacia niveles un poco más activos de participación, propositivo 33%. Se concluye que los niveles de participación de los miembros de las comunidades escolares son altamente pasivos, sobre todo en estudiantes, asistentes y apoderados. Los docentes son los únicos actores que predominan niveles más activos de participación, principalmente de carácter propositivo. No obstante, estos resultados invitan a la prudencia considerando la literatura especializada.

Galician actress, playwright and theater director Vanesa Sotelo (1981) carries out, through her dramatic writing, a poetic search for identity in her female characters. In texts like Nome: Bonita (2014) the same concern always beats: the scope of knowledge through the discovery of roots, the encounter with the ancestors or the understanding of deeply personal and identity issues. Along with this theater of identity, Sotelo develops a theater of memory, by recovering historical female figures from the Galician social and historical context. In this sense, its main characters are great female figures forgotten by history who carry out their own inquiry as an act of vindication. They seek their identity and, at the same time, their deserved place in the collective memory. This article will try to explore the discursive and thought keys of these concerns of the playwright and, at the same time, it will propose to analyze what are the dramaturgical tools that she uses to address them in her dramatic text Nome: Bonita. In short, this research aims to highlight the figure of a playwright who does not hesitate to use her theater to value other great women of her cultural heritage.

María José Ragué Arias (Barcelona 1941-2019) was a Catalan scholar, theatre critic, playwright and feminist activist. This article focuses on a particular aspect of Ragué’s career: her contributions to the study of contemporary Hispanic and Catalan theatre from a feminist perspective. Following an overview of her intellectual career, this article explores the different aspects of this part of her work: the study of the contemporary rewritings of ancient Greek theatre female characters, the reception of feminist anglophone theatre studies, the analysis of the theatre field from a gender perspective and the understanding of female authorship as a differential value. The ensemble of these contributions represents a pioneer approach to contemporary theatre within the late 20th century Spanish academia and is still current at multiple levels, standing as a referent to claim for the study of the relationships among gender, feminisms, women and theatre in the 21st Century.

Current dramaturgy claims gender studies as a primary critical field and María Velasco develops a significant dramatic production capable of being analyzed. Metafiction as a phenomenon that introduces the autofictional fact is based on the idea of theatre within theatre on the basis of two facts: the first consists of entering the intricacies of the theatrical structure and the second establishes collecting fragments of reality to materialize them in the scene. Autofiction is a phenomenological resource that acquires relevance in Velasco’s work: it is a formula that consists of approaching the aspect from a fictional perspective, providing a significant number of literary resources in the texts presented by the author. The autobiographical is established to include personal aspects that acquire added value; the result is the symbiosis between fiction and reality. The aim she pursues corresponds to the catharsis that occurs in the development of her performance.

This research focuses on the different visions of the female body and the gender issue in puppet theatre in Spain developed by the theatre company Winged Cranes based in Madrid through the study of three of its most relevant productions: Don Kiss me, I’m in training; The soldier with no name and Bernarda’s Backstage. An analysis of the multicultural and interdisciplinary contexts in which Winged Cranes has been formed and developed its artistic work is proposed. The performative bodies created by this company for the stage are analyzed by examining the puppets shown in its productions. This investigation values the contribution of Winged Cranes to the representation of women in puppet theatre and theatre in general in Spain from a feminist and a gender perspective.

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This article aims to study thoroughly the dramaturgy of Itziar Pascual. In order to do so, I will follow the characters that give life to her works and that put in doubt the categorisation of “children’s theatre”, which follows works such as La vida de los salmones (2016), Mascando ortigas (2005) o Pere Lachaise (2003). The study deals with the protagonists, paying attention to breaking up with feminine and masculine archetypes. This is built upon a constant struggle against reality which finds shelter just in fiction; an evasion from reality that comes hand in hand with art and childhood, from a theatre which has apparently been conceived for kids. The objective is to show the osmotic nature of the characters, the same one that allows them to develop and blur the lines between dream and reality, life and death or past and present through humor, beauty and poetry.

Bibiana Monje (Tenerife, 1983) and her literary works will be the objects of study in this paper. She will be analyzed from the concept of ‘autofiction’ in this research, it will be applied for drama due to the theoretical proposals put forward by authors like Ana Casas or García Barrientos. From such a theoretical framework, it will be first dealt with how Bibiana Monje’s voice approaches autofiction and, to a certain extent, modernizes it, together with the implications of said approach. Special attention will be paid to the multiple selfs that appear in the scene as to the use of metaficcitional resources. Second, the interest is centered in establishing the elements and mechanisms employed in the characterization of such a voice, written from an insular and female autoconscience.

In this article we intend to address the recovery of the authorial figure of one of the most important playwrights of the Spanish Silver Age, through the play by Vanessa Montfort entitled Firmado Lejárraga. To do this, we will first review the main aspects of the concealment of María Lejárraga’s authorship under the Martínez Sierra trademark and how they are reflected in the play. Secondly, we will focus on the specific elements of the dramaturgy proposed by Vanessa Montfort, highlighting her metafictional approach and also paying attention to other works by the author, especially the novel Una mujer sin nombre. Thus, we will try to see how fiction can serve as an effective and necessary process of «authorization», which completes our cultural history by adding the fundamental contribution of female writing.